About Me

Me, Myself, and I

This is The Smiths Fan Club bebo!

The Smiths formed in 1982 revolving around two central figures:Steven Patrick Morrissey and John Martin Maher(Morrissey and Marr).The Manchester band would become possibly the most influential band ever,with Morrissey's social angst-ridden lyrics and Marr's ability to match any emotion with a strum of his Fender.The Smiths stood up for homosexuals,vegetarians,women and other prejudiced societies,and attacked the royal family(spit!) and the Thatcher(spit!)regime.The Smiths promoted a moral concern and helped many people by giving them songs that they could relate to.The Smiths created music that no-one wass able to touch from the singles This Charming Man,How Ssoon Is Now? and There Is a Light That Never Goes Out to the albums Meat Is Murder and their masterpiece The Queen Is Dead.The Smiths split in 1987'which led to Morrissey's solo career and his elevation to new level of commercial success.

Studio:The Smiths(1984), Meat Is Murder(1985), The Queen Is Dead(1986), Strangeways, Here We Come(1987)
Compilations:Hatful Of Hollow(1984), The World Won't Listen(1987), Louder than Bombs(1987)
Live:Rank(198

Sorry for being late, but as you all know Morrissey was accused of racism by the NME (New Moronic Express with a New Moronic Editor). I'm sure we have all sent in complaint letters, although they only put in the stupid ones they could reply to that weren't making points and none of the clever ones (in short, not mine!). So here's Morrissey's Statement:

"On Friday of last week I issued writs against the NME (New Musical Express) and its editor Conor McNicholas as I believe they have deliberately tried to characterise me as a racist in a recent interview I gave them in order to boost their dwindling circulation.

"I abhor racism and oppression or cruelty of any kind and will not let this pass without being absolutely clear and emphatic with regard to what my position is.

"Racism is beyond common sense and I believe it has no place in our society.

"To anyone who has shown or felt any interest in my music in recent times, you know my feelings on the subject and I am writing this to apologize unreservedly for granting an interview to the NME. I had no reason whatsoever to assume that they could be anything other than devious, truculent and unreliable. In the event, they have proven to be all three.

"The NME have, in the past, offered me their "Godlike Genius Award" and I had politely refused. With the Tim Jonze interview, the Award was offered once again, this time with the added request that I headline their forthcoming awards concert at the O2 Arena, and once again I declined it. This is nothing personal against the NME, although the distressing article would suggest the editor took it as such. My own view is that award ceremonies in pop music are dreadful to witness and are simply a way of the industry warning the artist "see how much you need us" - and, yes, the "new" NME is very much integrated into the industry, whereas, deep in the magazine's empirical history, the New Musical Express was a propelling force that answered to no one. It led the way by the quality of its writers - Paul Morley, Julie Burchill, Paul du Noyer, Charles Shaar Murray, Nick Kent, Ian Penman, Miles - who would write more words than the articles demanded, and whose views saved some of us, and who pulled us all away from the electrifying boredom of everything and anything that represented the industry. As a consequence the chanting believers of the NME could not bear to miss a single issue; the torrential fluency of its writers left almost no space between words, and the NME became a culture in itself, whereas Melody Maker or Sounds just didn't. Into the 90s, the NME's discernment and polish became faded nobility, and there it died - but better dead than worn away. The wit imitated by the 90s understudies of Morley and Burchill assumed nastiness to be greatness, and were thus rewarded. But nastiness isn't wit and no writers from the 90s NME survive. Even with sarcasm, irony and innuendo there is an art, of sorts. Now deep in the bosom of time, it is the greatness of the NME's history on which the "new" NME assumes its relevance.

"It is on the backs of writers such as Morley, Burchill, Kent and Shaar Murray that the "new" NME hitches its mule-cart, assuming equal relevance. But the stalled views of the "new" NME sag, and readers have been driven away by a magazine with no insides. The narrow cast of repeated subjects sets off the agony, a mesmerizing mess of very brief and dispassionate articles unable to make thought evolve; a marooned editor who holds the divine right to censor any views that clash with his own.

"The editorial treatment given to my present interview with the "new" NME is the latest variation on an old theme, but like a pre-dawn rampage, the effects of the interview have been meticulously considered with obvious intentions. It is true that the magazine is ailing badly in the market place, but Conor doesn't understand how the relentless stream of "cheers mate, got pissed last night, ha ha" interviews that clutter every

close
Whiteboard

I decree today that life
Is simply taking and not giving
England is mine - it owes me a living
But ask me why, and I'll spit in your eye
Oh, ask me why, and I'll spit in your eye
But we cannot cling to the old dreams anymore
No, we cannot cling to those dreams....
Does the body rule...

You don't have to bother, honestly. I'd actually prefer never to have to face any part of that film again Haha, I'm not that good, and the exam isn't that complex I will, eventually.... (I'm sure I've given you that excuse a million times now, haven't I?) I didn't know that! I'm sure it's... um... lovely

I didn't notice when I saw it, though to be honest I didn't pay much attention to the film at all Hmm... well there were a lot of quavers, and I went from it starting low to it ending high. That's all I can remember I will, I will. It's just that I still haven't properly listened to The Smiths (the album) and I have a load of other stuff to listen to (as always) and also, when it's sunny outside I don't really feel like listening to The Smiths Ha, cool! I believe The Killers covered one. But I think you know that already. Didn't you tell me that? I can't remember. I knew it anyway, but I think you brought it up in Bray. I have a horrible memory...

Yeah, those things are always unplugged. Too many things to plug in, not enough plugs for them I haven't a clue, sorry! Can't even remember what key it was in, but I remember ending it on high doh rather than low doh.... No, not yet. I will soon

Yes, it's great I will check those bands out eventually. Well, maybe I won't. I'm lazy like that and have 30948302 other bands to listen to No, I'm not. Music exam was great Yeah, the composition was fine, I'm generally grand with that so hopefully I did well

Really? Ha, must just be me then My List needs some getting into. It's a good song, but it's hard to get into sometimes. The one right before Exitlude.... let's see if I can get this from memory.. Why Do I Keep Counting? I think that's it.

I knew you'd love This River Is Wild The one that has to grow on you a bit is Bling (Confession of a King). It's kinda underwhelming the first few times you listen, then one day you realise how great it is. Well, that's what happened to me, anyway